{"id":2,"date":"2020-05-20T15:39:36","date_gmt":"2020-05-20T19:39:36","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/beethoven\/?page_id=2"},"modified":"2020-11-06T11:21:38","modified_gmt":"2020-11-06T16:21:38","slug":"home","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/beethoven\/","title":{"rendered":"Beethoven Symphony Basics"},"content":{"rendered":"

Beethoven Symphony Basics: \u00a0The Project<\/span><\/h3>\n

The COVID-19 epidemic has made 2020, the year we celebrate Beethoven\u2019s 250th<\/sup> birth anniversary, a most unusual time.\u00a0 I was scheduled to teach my graduate seminar on the Beethoven symphonies at the Eastman School of Music over the summer, but by April it was deemed necessary to hold all summer courses, including seminars, online.\u00a0 Once the course was announced as being an online seminar, more and more Eastman students, residing in all parts of the world, placed themselves on the course\u2019s waiting list. This resulted in the opening of a second seminar, and so eighteen doctoral and two master\u2019s students participated in the course. \u00a0Not only were there several students scattered around the world with unlikely access to research collections, but in April we were informed that the scholarly resources held in Eastman\u2019s wonderful Sibley Music Library probably would also be unavailable. Consequently, our seminars, which are intended to include a substantial research component, had to be restructured.\u00a0 I reorganized the seminars around ways we could study Beethoven\u2019s symphonies using almost exclusively online resources, and sought advice from several individuals on how to do so.\u00a0 As I considered the options, and the large number of registered students, I decided that we would together build our own online resource for introducing these wonderful works to others, using materials we were able to access online, and our own collective analytical skills and topical interests.<\/span><\/p>\n

This website is the result of our 2020 summer Beethoven\u2019s Symphonies graduate seminar.\u00a0 The information contained here aims to clarify the historical context of Beethoven’s own times, thereby offering perspectives on his own creative process and his immediate influence. \u00a0It is designed to be a teaching tool for those interested in learning about the symphonies but with little background in music, relying on sources available online for additional information. We have in mind college undergraduate courses or pedagogical programs developed for concert attendees as our audience. Pages include essays on Beethoven\u2019s \u201cClassical\u201d symphonic and orchestral inheritance, his position as a transitional composer of symphonies between the Classical and Romantic styles and the role the \u201cHeroic\u201d narrative played in this development, and a page dedicated to each of the nine symphonies containing general information, essays on the significance and structure of each work, some thoughts on written or spoken words about each symphony by Beethoven and others, resources for further inquiry of related topics, and links to online resources such as notable printed parts and scores, performances, commentaries, and program notes. \u00a0The symphony essays are understandable with a minimum of prior music theory knowledge, but include helpful links for explaining some of the necessary theoretical principles, and they gradually rely on an increase in theoretical knowledge from the First Symphony page to the Ninth Symphony page.\u00a0 Along with our own analyses of the symphonies, our seminar benefited from the clear and invaluable guidance of the following textbooks, which are referred to many times in the essays, and which we highly recommend to our readers:<\/span><\/p>\n

\n

Lockwood, Lewis. Beethoven\u2019s <\/em>Symphonies: An Artistic Vision<\/em>. New York: W. W. Norton & Company, 2015. Available electronically: Google Book<\/a>,\u00a0NOOK Book<\/a>, Kindle Book<\/a>,Ebook Infinity<\/a>.<\/span><\/p>\n

Burnham, Scott. Beethoven Hero.<\/em> Princeton: Princeton University Press, 1995.<\/span><\/p>\n<\/blockquote>\n

We happily offer the materials contained in this website for public use. \u00a0However, in cases where ideas presented in the essays are used for scholarly, teaching, and other such purposes, we ask that credit is given by correct citation, including the specific essay name and names of contributors to that essay, the specific page, and the Beethoven Symphony Basics at ESM<\/em> website, with url links where appropriate.\u00a0<\/span><\/p>\n

In this special Beethoven anniversary year, with its unusual need for social distancing practices that run the risk of dehumanizing us, we hope this website will offer you some delightful and enlightening information regarding these masterpieces of Beethoven\u2014one of the great humanist artists in our history\u2014and thereby uplift your human spirit.<\/span><\/p>\n

Michael E. Ruhling<\/a>, PhD
\n<\/span>Senior Associate Faculty in Musicology,
\n<\/span>Eastman School of Music of the University of Rochester
\n<\/span>Email: <\/span>mruhling@esm.rochester.edu<\/a><\/p>\n

 <\/p>\n

Contributors
\n<\/strong><\/span>Essays and other information contained in this site were generated by the Eastman School of Music Summer 2020 Graduate Seminar on Beethoven’s symphonies. \u00a0Teams of students worked on writing each essay\u2014initials of the contributors are listed following each essay\u2014but the entire class had input into all of the materials on each page. Prof. Michael Ruhling served as editor, contributed to each essay, and was the sole author of some essays. \u00a0Rita Coulter designed the page and gave invaluable technical assistance throughout the process; we offer our sincere thanks for her guidance.\u00a0<\/span><\/p>\n

MER\u00a0\u00a0 Michael E. Ruhling<\/a><\/strong>, PhD.\u00a0 Professor of Beethoven’s Symphonies Seminar, general editor.<\/span><\/p>\n

RC \u00a0 \u00a0 Rita Coulter. Web support specialist, ESM Technology and Media Production.<\/span><\/p>\n

Seminar Students (graduate students at Eastman School of Music):<\/span><\/span><\/p>\n

AL \u00a0 \u00a0 \u00a0Alexander Lo<\/span><\/p>\n

CH\u00a0 \u00a0\u00a0 Caleb Hopkins<\/a><\/strong><\/span><\/p>\n

EH \u00a0 \u00a0 \u00a0Emily Hart<\/span><\/p>\n

FJ \u00a0 \u00a0 \u00a0 Fantee Jones<\/span><\/p>\n

HdS \u00a0 \u00a0Hugo Roberto Shin Lima De Souza<\/span><\/p>\n

JC\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jingyu Cai<\/span><\/p>\n

JF \u00a0 \u00a0 \u00a0 Jonathan Fleischman<\/span><\/p>\n

JM \u00a0 \u00a0 \u00a0 Justin McCulloch<\/span><\/p>\n

LB\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lindsay Bronnenkant<\/span><\/p>\n

MC\u00a0\u00a0\u00a0\u00a0\u00a0 Maurice Cohn<\/span><\/p>\n

MCho \u00a0Minsol Cho<\/span><\/p>\n

SH\u00a0\u00a0\u00a0\u00a0\u00a0 Xiaonan (Shannon) Huang<\/span><\/p>\n

ST\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Songyuan Tang<\/span><\/p>\n

SY\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Xiaoyu (Stacey) Yang<\/span><\/p>\n

WM \u00a0 \u00a0 Wenhao Mu<\/span><\/p>\n

WZ\u00a0\u00a0\u00a0\u00a0\u00a0 Wanting Zhao<\/span><\/p>\n

YLi\u00a0\u00a0\u00a0\u00a0\u00a0 Yang Li<\/span><\/p>\n

YLiu\u00a0\u00a0\u00a0 Yilin Liu<\/span><\/p>\n

YS\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yidi Song<\/span><\/p>\n

ZW\u00a0\u00a0\u00a0\u00a0\u00a0 Yucong (Zoe) Wang<\/span><\/p>\n

 <\/p>\n

Acknowledgements<\/span><\/strong><\/p>\n

Rita Coulter, web support specialist, ESM Technology and Media Production, was very enthusiastic about the design of this website from the beginning of its proposal through its completion, and her guidance through the technical process made the whole project possible.\u00a0 I cannot thank her enough for her expertise, vision, and clear direction at every step.\u00a0 Summers@Eastman director Dr. Sylvie Beaudette has been a generous and enthusiastic administrator for many summers now, and was most helpful and encouraging in the restructuring of the seminar and the concept of this website.\u00a0 I am grateful for her cheerful guidance and friendship.\u00a0 I also wish to thank the Eastman Musicology Department and its chair Dr. Holly Watkins for agreeing to support this website, and to Julie Ruhling for her patient and precise proof reading of its contents. \u00a0Thanks also to Dr. J\u00fcrgen Thym, Eastman Professor Emeritus, and to Dr. William Meredith, Dr. Erica Buurman, and Patricia Stroh of the Ira F. Brilliant Center for Beethoven Studies, who have offered wonderful suggestions for topics and items to include in the website.\u00a0 Finally, it is with deep appreciation and warm thoughts that I thank the students of the Summer 2020 Beethoven\u2019s Symphonies seminars for their hard work, interesting insights, probing questions, and teamwork, all of which made this project not only possible, but fulfilling for me.\u00a0 Their names are listed above under \u201cContributors.\u201d<\/span><\/p>\n

\u2014Michael E. Ruhling<\/span><\/p>\n

 <\/p>\n

Works Cited<\/strong><\/span><\/p>\n

This project relied most on online open-access or electronic sources available through purchase or subscription, so that it could be a useful resource for online teaching and study. It also required use of some materials only available in hard copy. \u00a0Here is a list of the materials cited, divided into Online Open-Access Sources, Online\/Electronic Sources Requiring Purchase or Subscription, and Print-only Sources. Each symphony page will include links to additional online program notes, commentaries, and recordings.\u00a0<\/span><\/p>\n

Online Open-Access Sources<\/span><\/p>\n

The Beethoven Gateway.\u00a0 Beethoven Center, San Jose State University<\/a>.\u00a0<\/span><\/p>\n

\u00a0\u201c18<\/strong><\/a>th<\/sup><\/strong><\/a> Century German Aesthetics<\/strong><\/a>.\u201d Stanford Encyclopedia of Philosophy<\/em>, Jan. 16, 2007, rev. July 13, 2020.\u00a0 Accessed 07\/15\/2020.<\/span><\/p>\n

Albrecht, Theodore.\u00a0 \u201cAnton Schindler as destroyer and forger of Beethoven\u2019s conversation books: A case for decriminalization.\u201d\u00a0 Music\u2019s intellectual history<\/em> (2009): 169-82. Available online at rilm.org.<\/a><\/span><\/p>\n

Anderson, Emily, trans. and ed. The Letters of Beethoven. <\/em>New York: St. Martin\u2019s Press, 1961. Most of this is available online at ringnebula.com Beethoven<\/a>.<\/span><\/p>\n

\u201cBeethoven as a Concert Organizer<\/strong><\/a>.\u201d Beethoven-Haus Bonn, accessed 07\/30\/2020.<\/span><\/p>\n

\u201cBeethoven: What did the 19<\/strong><\/a>th<\/sup><\/strong><\/a>Century Think<\/strong><\/a>?\u201d BBC Music Magazine<\/em>. Accessed 07\/05\/2020.\u00a0\u00a0<\/span><\/p>\n

Beethoven, Ludwig van. 2001-2013. \u201cThe Heiligenstadt Testament<\/strong><\/a>.\u201d Ludwig van Beethoven<\/em>. Accessed 07\/07\/2020.<\/span><\/p>\n

_______.\u00a0 Beethoven\u2019s Letters: A Critical Edition with Explanatory Notes by Dr. A. C. Kalischer, Translated with Preface by J. S. Shedlock<\/em>. London: J. M. Dent, 1909. Digitized by HathiTrust, Vol. 1<\/a>, Vol. 2<\/a>.<\/span><\/p>\n

Berlioz, Hector. A Critical Study of the Symphonies of Beethoven <\/em>from A travers Chants <\/em>(Paris, 1862). <\/em>Trans. Edwin Evans. London: Wm. Reeves, 1913. \u00a0<\/strong>Open Library link.<\/strong><\/a><\/span><\/p>\n

Berlioz. Hector.\u00a0 \u201cBerlioz: Predecessors and Contemporaries.\u201d Trans. Michael Austin.\u00a0 The Berlioz Website<\/em><\/strong><\/a>. <\/em>Accessed 07\/10\/2020.<\/span><\/p>\n

Burke, Edmond.\u00a0 A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful<\/em>, 4th<\/sup>edition. London, 1764 (1st<\/sup> edition 1757). \u00a0<\/strong>Link<\/strong><\/a>.\u00a0<\/span><\/p>\n

Caplin, William E. \u201cOn the Relation of Musical Topoi <\/em>to Formal Function<\/a>.\u201d Eighteenth-Century Music <\/em>2\/1 (Spring 2005): 113-24.<\/span><\/p>\n

Churgin, Bathia. \u201cThe Symphony as Described by J A. P. Schulz (1774): A Commentary and Translation.\u201d Current Musicology<\/em> 29 (Spring 1980): 7-16.\u00a0\u00a0 Columbia Academic Commons link<\/strong><\/a>.<\/span><\/p>\n

Ferraguto, Mark Christopher. \u201cBeethoven\u2019s Fourth Symphony: Reception, Aesthetics, Performance History.\u201d<\/a> PhD Dissertation, Cornell University, 2012.<\/strong><\/span><\/p>\n

Gibbs, Christopher H. \u201cNotes on Beethoven\u2019s Seventh Symphony\u201d at NPR (13 June 2006). Link<\/a>.<\/span><\/p>\n

Grove, George.\u00a0 Beethoven and His Nine Symphonies<\/em>. London: Novello and Co., Ltd., 1896. IMSLP link.<\/strong><\/a><\/span><\/p>\n

Harer, Ingeborg. \u201cMusical Venues in Vienna, Seventeenth Century to the Present.\u201d Performance Practice Review <\/em>8, No. 1 (1995).\u00a0 Scholarship.Claremont.edu link<\/a>.<\/span><\/p>\n

Hicks, Peter, \u201cWhy did the battle of Jena take place?\u201d,<\/u> Napoleon.org.\u00a0 A great overview of the political and militaries issues leading up to the battle of Jena. Link<\/strong><\/a>.<\/strong><\/span><\/p>\n

Huovinen, Erkki. \u201cThe Semantics of Musical Topoi: An Empirical Approach<\/a>.\u201d Music Perception<\/em> 33.2 (Dec. 2015): 217-43.<\/span><\/p>\n

Kalischer, A.C. Beethoven\u2019s Letters: A Critical Edition with Explanatory Notes<\/em>. Translated by J.S. Shedlock. London: J.M. Dent & Co., 1909. Open Library Link<\/strong><\/a>.<\/span><\/p>\n

Kerst, Friedrich and Krehbiel, Henry Edward. Beethoven: The Man and the Artist, As Revealed in his own Words<\/em>. New York: B. W. Huebsch, 1905. \u00a0Project Gutenberg link<\/strong><\/a>.<\/strong><\/span><\/p>\n

Kimball, Will. \u201cTrombone History: 19th Century (1801-1825)\u201d<\/strong><\/a>.<\/strong> kimballtrombone.com<\/em><\/span><\/p>\n

Lewanski, Michael. \u201cBeethoven and the Romantic Sublime: The Fifth Symphony<\/strong><\/a>.\u201d www.michael lewanski.com<\/strong><\/a>. Accessed 07\/24\/2020.<\/span><\/p>\n

Libin, Laurence Elliot. \u201cSymphony<\/a>.\u201d Britannica.com.<\/em> Accessed 10\/10\/2020.<\/span><\/p>\n

Marx, A. B. Theory and Practice of Musical Composition, 3rd<\/sup> ed <\/em>(Leipzig, 1845). Trans. and ed. Herrman S. Seroni. New York: Mason Brothers, 1856.\u00a0\u00a0 \u00a0<\/strong>IMSLP link<\/strong><\/a>.<\/span><\/p>\n

Nietzsche, Friedrich. The Birth of Tragedy.<\/em><\/a><\/span><\/p>\n

Rhodes, Stephen L. \u201cHarmoniemusik and the Classical Wind Band<\/strong><\/a>.\u201d\u00a0 History of the Wind Bands. <\/em><\/strong><\/a>Accessed 07\/10\/2020.<\/span><\/p>\n

Schumann, Robert. On Music and Musicians <\/em>(1834-1844). Translated Fanny Raymond Ritter.\u00a0 London: William Reeves, 1891. Internet Archive link<\/a>.<\/span><\/p>\n

Schwarm, Betsy. Symphony No. 7 in A Major, Op. 92. <\/em>Link<\/a>.<\/span><\/p>\n

Senner, Wayne M.; Wallace, Robin; and Meredith, William, \u201cThe Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, volume 2\u201d (2001). University of Nebraska link<\/strong><\/a>.<\/span><\/p>\n

Teng, Kuo-Jen. \u201cThe Role of the Piccolo in Beethoven’s Orchestration<\/a>.\u201d Digital Library UNT<\/em>, 2011.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Thayer, Alexander Wheelock. The Life of Ludwig van Beethoven.<\/em> Ed. Henry Edward Krehbiel.\u00a0 New York: The Beethoven Association, 1921.\u00a0 Project Gutenberg links: Vol. 1<\/strong><\/a>, <\/strong>Vol. 2<\/strong><\/a>, <\/strong>Vol. 3<\/strong><\/a>.<\/span><\/p>\n

Tymoczko, Dmitry. \u201cArts in Society: The Sublime in Beethoven<\/strong><\/a>.\u201d Boston Review <\/em>1 Dec. 1999. Accessed 07\/15\/2020.<\/span><\/p>\n

Wagner, Richard.\u00a0 Beethoven <\/em>(Lucerne, 1870).\u00a0 Trans. Edward Dannreuther. London: Wm Reeves, 1893. Open Library link<\/strong><\/a>.<\/span><\/p>\n

Wallace, Lady Grace, trans. \u201cBeethoven\u2019s Letters 1790-1826, from the Collections of Dr. Ludwig Nohl and Dr. Ludwig Ritter von K\u00f6chel<\/strong><\/a>.\u201d\u00a0 Boston: Oliver Ditson & Co., 1865.<\/span><\/p>\n

Additional online program notes, commentaries, and recordings, are identified and linked on each symphony page.<\/span><\/p>\n

 <\/p>\n

Online\/Electronic Sources Requiring Purchase or Subscription<\/span><\/p>\n

Baird, Olga. \u00a0\u201cEarly settings of the \u2018Ode to joy\u2019: Schiller\u2013Beethoven\u2013Tepper de Ferguson,\u201d The Musical Times <\/em>154 (Spring 2013), 85-97.\u00a0 JStor link<\/a>.<\/span><\/p>\n

Beethoven, Ludwig van. Beethoven, as revealed in his own words<\/em>.\u00a0 New York: Sheba Blake Publishing, 2014.\u00a0 ProQuest<\/a> Ebook Central.<\/span><\/p>\n

Bonds, Mark Evan. Music as Thought: Listening to the Symphony in the Age of Beethoven.<\/em> Princeton, NJ: Princeton University Press, 2006.\u00a0 ProQuest<\/a> Ebook Central.<\/span><\/p>\n

Botstein, Leon.\u00a0 \u201cSound and structure in Beethoven\u2019s orchestral music.\u201d\u00a0 In The Cambridge Companion to Beethoven<\/em>, edited by Glenn Stanley, 165-85. Cambridge: Cambridge University Press, 2000. Cambridge University Press link<\/a>.\u00a0<\/span><\/p>\n

Brown, Clive. \u201cThe Orchestra in Beethoven\u2019s Vienna.\u00a0 Early Music <\/em>16 (1988): 4-14, 16-20. JStor link<\/a>.<\/span><\/p>\n

Broyles, Michael. \u201cThe Two Instrumental Styles of Classicism.\u201d Journal of the American Musicological Society <\/em>36\/2 (Summer 1983): 210-42. JStor link<\/a>.<\/span><\/p>\n

Burnham, Scott. \u201cThe Role of Sonata Form in A. B. Marx\u2019s Theory of Form.\u201d Journal of Music Theory<\/em> 33\/2 (Autumn 1989), 247-71.\u00a0 JStor link<\/a>.<\/span><\/p>\n

Cooper, Barry. Beethoven.<\/em> Oxford: Oxford University Press, 2000.\u00a0 ProQuest<\/a> Ebook Central.<\/span><\/p>\n

_______. \u201cBeethoven\u2019s uses of silence.\u201d The Musical Times <\/em>Vol. 152, no. 1914 (Spring 2011): 25-43. JStor link<\/a>.<\/span><\/p>\n

Downs, Philip G. \u201cBeethoven\u2019s \u2018New Way\u2019 and the Eroica<\/em>.\u201d Musical Quarterly <\/em>56 (1970): 585-604. JStor link<\/a>.<\/span><\/p>\n

Garber, Frederick. \u201cSelf, Society, Value, and the Romantic Hero.\u201d Comparative Literature<\/em> 19\/ 4 (1967): 321\u2013333. JStor link<\/a>.<\/span><\/p>\n

Gleason, Bruce. “A Guide to Teaching Beethoven’s Marches.” Music Educators Journal<\/em> 82, no. 4 (1996): 17-50. JStor link<\/a>\u00a0<\/span><\/p>\n

Gregory, Robin. \u201cThe Horn in Beethoven\u2019s Symphonies.\u201d\u00a0Music & Letters<\/em>\u00a033\/4 (1952): 303-10.\u00a0JStor link<\/a>.<\/span><\/p>\n

Horton, Julian, ed. The Cambridge Companion to the Symphony<\/em>. Edited Julian Horton. Cambridge: Cambridge University Press, 2013. Cambridge Core link<\/a>.<\/span><\/p>\n

Jones, R. \u201cBeethoven and the Sound of Revolution in Vienna, 1792\u20131814.\u201d The Historical Journal,<\/em> 57<\/em>\/<\/em><\/a>4 (2014): 947-971. \u00a0Cambridge University Press link<\/a>.<\/span><\/p>\n

Kinderman, William. Beethoven<\/em> (2nd<\/sup> edition). Oxford: Oxford University Press, 2009.\u00a0 ProQuest<\/a> Ebook Central.<\/span><\/p>\n

Kirby, F. E. \u201cBeethoven\u2019s Pastoral Symphony as a Sinfonia Characteristica<\/em>.\u201d Musical Quarterly <\/em>56 (1970): 605-23. JStor link<\/a>.<\/span><\/p>\n

Locke, Arthur Ware, and E. T. A. Hoffmann. \u201cBeethoven’s Instrumental Music: Translated from E. T. A. Hoffmann’s \u2018Kreisleriana\u2019 with an Introductory Note.\u201d The Musical Quarterly<\/em> 3, no. 1 (1917): 123-33. JStor link<\/a>.<\/span><\/p>\n

Lockwood, Lewis. Beethoven\u2019s <\/em>Symphonies: An Artistic Vision<\/em>. New York: W. W. Norton & Company, 2015. Available electronically as a Google Book<\/a>, \u00a0NOOK Book<\/a>, Kindle Book<\/a>, and Ebook Infinity<\/a>.<\/span><\/p>\n

Lowinsky, Edward E. \u201cMusical Genius\u2014Evolution and Origins of a Concept.\u201d\u00a0The Musical Quarterly<\/em>\u00a050, no. 3 (1964): 321-40.\u00a0JStor link<\/strong><\/a>.\u00a0<\/span><\/p>\n

McCaldin, Denis. \u201cMahler and Beethoven\u2019s Ninth Symphony.\u201d Proceedings of the Royal Musical Association<\/em>107 (1990-91): 101-10. JStor link<\/a>.<\/span><\/p>\n

Mendl, R. W. S. “Beethoven as a Writer of Programme Music.” The Musical Quarterly<\/em> 14, no. 2 (1928): 172-77. Accessed July 22, 2020. JStor link<\/a>.<\/span><\/p>\n

Morrow, Mary Sue. \u201cOf Unity and Passion: The Aesthetics of Concert Criticism in Early\u00a0<\/span>Nineteenth-Century Vienna.\u201d 19th-Century Music<\/em> 13, no. 3 (1990): 193\u2013206. JStor link<\/a>.<\/span><\/p>\n

November, Nancy, ed. The Cambridge Companion to the Eroica Symphony<\/em>. Edited Nancy November. Cambridge: Cambridge University Press, 2000. Cambridge Core link<\/a>.<\/span><\/p>\n

Rehding, Alexander. Beethoven\u2019s Symphony No. 9.\u00a0 <\/em>New York: Oxford University Press, 2017.\u00a0 Available as a Google Books ebook <\/a>.<\/span><\/p>\n

Senner, Wayne M.; Wallace, Robin; and Meredith, William, “The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, volume 2” (2001). University of Nebraska Press.\u00a0University of Nebraska Press link<\/a>.<\/span><\/p>\n

Sisman, Elaine R.\u00a0 \u201cSmall and Expanded Forms: Koch\u2019s Model and Haydn\u2019s Music.\u201d Musical Quarterly <\/em>68\/4 (Fall 1982): 444-75.\u00a0 JStor link<\/a>.<\/span><\/p>\n

_______. \u201c\u2018The Spirit of Mozart from Haydn\u2019s Hands\u2019: Beethoven\u2019s Musical Inheritance.\u201d In The Cambridge Companion to Beethoven,<\/em> edited by Glenn Stanley, 43\u201363. Cambridge: Cambridge University Press, 2000. Cambridge Core link<\/a>.<\/span><\/p>\n

Steinberg, Michael. The Symphony: A Listener\u2019s Guide.<\/em> Oxford University Express, 1995. Google Books link<\/a><\/span><\/p>\n

Swafford, Jan. Beethoven: Anguish and Triumph: a biography<\/em>. Boston: Houghton Mifflin Harcourt, 2014.\u00a0\u00a0 ProQuest <\/a>Ebook Central.<\/span><\/p>\n

Will, Richard.\u00a0 \u201cParadise Regained: time, morality, and humanity in Beethoven\u2019s Pastoral Symphony.\u201d Chapter in The Characteristic Symphony in the Age of Haydn and Beethoven.<\/em> Cambridge: Cambridge University Press, 2002. Cambridge Core link<\/a>.<\/span><\/p>\n

Volek, Tomislav, and Jaroslav Macek. \u201cBeethoven’s Rehearsals at the Lobkowitz’s.\u201d The Musical Times<\/em> 127, no. 1716 (1986): 75-80. JStor link<\/a>.<\/span><\/p>\n

Weingartner, Felix. On the Performance of Beethoven\u2019s Symphonies and Other Essays.<\/em> New York: Dover Publications, 1969. Scribd<\/a> Ebook.<\/span><\/p>\n

Zaslaw, Neal. \u201cToward the Revival of the Classical Orchestra.\u201d Proceedings of the Royal Music Association<\/em> 103 (1976-77): 158-87. JStor link<\/a>.<\/span><\/p>\n

 <\/p>\n

Print-only Sources<\/span><\/p>\n

Agawu, V. Kofi. Playing with Signs: A Semiotic Interpretation of Classical Music<\/em>. Princeton: Princeton University Press, 1991.<\/span><\/p>\n

Biba, Otto. \u201cConcert Life in Vienna.\u201d Beethoven, Performers and Critics: International Beethoven Congress, Detroit, 1977<\/em>. Detroit: Wayne State Press, 1980.<\/span><\/p>\n

Bonds, Mark Evan. \u201cRhetoric vs. Truth: Listening to Haydn in the Age of Beethoven.\u201d In Tom Beghin and Sander M. Goldberg, editors, Haydn and the Performance of Rhetoric<\/em>, 109-28. Chicago: University of Chicago Press, 2007.<\/span><\/p>\n

Brown, A Peter, gen. ed. The Symphonic Repertoire, Vol. I: The Eighteenth-Century Symphony.<\/em>\u00a0Edited by Mary Sue Morrow and Bathia Churgin. Bloomington, IN: Indiana University Press, 2012.<\/span><\/p>\n

Brown, A Peter. The Symphonic Repertoire, Vol. II: The First Golden Age of the Viennese Symphony.<\/em>\u00a0 Bloomington, IN: Indiana University Press, 2002.<\/span><\/p>\n

Broyles, Michael. The Emergence and Evolution of Beethoven\u2019s Heroic Style.<\/em> New York, Excelsior Music Publishing Co., 1987.\u00a0<\/span><\/p>\n

Burnham, Scott. Beethoven Hero.<\/em> Princeton: Princeton University Press, 1995.<\/span><\/p>\n

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven<\/em>. Oxford: Oxford University Press, 1998.<\/span><\/p>\n

Cooper, Martin.\u00a0 Beethoven; the Last Decade.\u00a0 <\/em>New York: Oxford University Press, 1970.<\/span><\/p>\n

Doran, Robert. The Theory of Sublime, from Longinus to Kant.<\/em> United Kingdom: Cambridge\u00a0University Press, 2015<\/span><\/p>\n

Dunwell, Wilfrid.<\/span>\u00a0\u201cThe Age of Goethe and Beethoven.\u201d In Twentieth-century Views of Music<\/i> History,<\/em>\u00a0edited by William Hays.\u00a0New York: C. Scribner & Sons, 1972: 291-99.<\/span><\/div>\n
\u00a0<\/div>\n

Evans, Edwin. Beethoven’s nine symphonies fully described & analysed.<\/em>\u00a0 London: W. Reeves, 1923.<\/span><\/p>\n

Ferraguto, Mark. Beethoven 1806<\/em>. New York: Oxford University Press, 2019.<\/span><\/p>\n

Folliard, Peter. \u201cOn the Incorporation of Weingartner\u2019s to Beethoven\u2019s Symphonies.\u201d Unpublished paper, Eastman School of Music, 2016. An expanded version of this study will soon be published in the Conductor\u2019s Guild Journal.<\/em><\/span><\/p>\n

Geck, Martin. Beethoven\u2019s Symphonies: Nine approaches to Art and Ideas.<\/em> Chicago: The University\u00a0of Chicago Press, 2017.<\/span><\/p>\n

Guerrieri, Matthew. The First Four Notes: Beethoven’s Fifth and the Human Imagination<\/em>. New York: Vintage Books, 2014.<\/span><\/p>\n

Hatten, Robert S.\u00a0 Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation.\u00a0<\/em>Bloomington, IN: Indiana University Press, 2004.<\/span><\/p>\n

Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata.<\/em> Oxford: Oxford University Press, 2006.<\/span><\/p>\n

Hopkins, Antony. The Nine Symphonies of Beethoven.<\/em> Brookfield, VT: Scholar Press, 1996.<\/span><\/p>\n

Kelly, Thomas Forrest. \u201c3. Ludwig Van Beethoven, Ninth Symphony: Friday, May 7, 1824, 7:00 P.M.\u201d Essay. In First Nights: Five Musical Premiers<\/em>. Yale University Press, 2000.<\/span><\/p>\n

Koury, Daniel J. Orchestral Performance Practices in the Nineteenth Century<\/em>. Ann Arbor, MI: U.M.I. Research Press, 1986.<\/span><\/p>\n

Lockwood, Lewis. Beethoven\u2019s Symphonies: An Artistic Vision<\/em>. New York: W. W. Norton & Company, 2015.<\/span><\/p>\n

_______. Beethoven<\/em>: The Music and Life<\/em>: New York: W. W. Norton & Company, 2003.<\/span><\/p>\n

Lowe, Melanie. \u00a0Pleasure and Meaning in the Classical Symphony<\/em>. Bloomington, IN: Indiana University Press, 2007.<\/span><\/p>\n

Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral.<\/em> Bloomington, IN: Indiana University Press, 2006.<\/span><\/p>\n

Pike, Lionel.\u00a0 Beethoven, Sibelius, and the “profound logic”: Studies in Symphonic Analysis.<\/em> London: Athlone Press, 1978.<\/span><\/p>\n

Ratner, Leonard. Classic Music: Expression, Form, and Style<\/em>. New York: Schirmer, 1980.<\/span><\/p>\n

Reis, Ferdinand and Franz Wegeler.\u00a0 Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries<\/em> (English and German Edition). Arlington, VA: Great Ocean Publishers, 1987.<\/span><\/p>\n

Rosen, Charles. Beethoven\u2019s Piano Sonatas: A Short Companion<\/em>. New Haven, CT: Yale Univeresity Press, 2002. <\/em><\/span><\/p>\n

_______. The Classical Style: Haydn, Mozart, Beethoven<\/em>. New York: W.W. Norton, 1998. https:\/\/wwnorton.com\/books\/The-Classical-Style\/<\/strong><\/a><\/span><\/p>\n

Sachs, Harvey. The Ninth: Beethoven and the World in 1824. <\/em>New York: Random House, 2010.<\/span><\/p>\n

Simpson, Robert. Beethoven Symphonies.<\/em> London: BBC, 1970.<\/span><\/p>\n

Slonimsky, Nicholas. Lexicon of Musical Invective (2nd ed)<\/em>. Seattle: University of Washington Press, 1994.<\/span><\/p>\n

Solomon, Maynard. Beethoven<\/em>. Second revised ed. New York, NY: Schirmer Books, 1998.<\/span><\/p>\n

_______. Late Beethoven: Music, Thought, Imagination<\/em>. Berkeley: University of California Press, 2003.<\/span><\/p>\n

Spitzer, John, and Neal Zaslaw.\u00a0 The Birth of the Orchestra: History of an Institution, 1650-1815.<\/em>\u00a0 Oxford: Oxford University Press, 2004.\u00a0<\/span><\/p>\n

Tellenbach, Marie-Elisabeth, and John E. Klapproth. Beethoven and His Immortal Beloved Josephine Brunsvik: Her Fate and the Influence on Beethoven’s Oeuvre<\/em>. John E. Klapproth, 2014.<\/span><\/p>\n

Thomas, Theodore and Frederick A. Stock.\u00a0 Talks About Beethoven\u2019s Symphonies.<\/em> Edited Rose Fay Thomas.\u00a0 Boston: O. Ditson, 1930.<\/span><\/p>\n

Tolley, Thomas. Painting the Cannon\u2019s Roar: Music, the Visual Arts and the Rise of an <\/em>Attentive Public in the Age of Haydn, c.1750 to c.1810<\/em>. Burlington, VT: Ashgate, 2001.<\/span><\/p>\n

Tovey, Donald Francis. Essays in Musical Analysis. Vol. I & II: Symphonies. <\/em>Oxford: Oxford University Press, 1935.<\/span><\/p>\n

Weingartner, Felix. On the Performance of Beethoven\u2019s Symphonies. <\/em>Translated Jessie Crosland. New York: Kalmus, 1906.<\/span><\/p>\n

Will, Richard. The Characteristic Symphony in the Age of Haydn and Beethoven<\/em>. New York: Cambridge, 2002.<\/span><\/p>\n

Young, Jonathan Bell. Beethoven\u2019s Symphonies: A Guided Tour<\/em>. New York: Amadeus Press, 2008.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Beethoven Symphony Basics: \u00a0The Project The COVID-19 epidemic has made 2020, the year we celebrate Beethoven\u2019s 250th birth anniversary, a most unusual time.\u00a0 I was scheduled to teach my graduate seminar on the Beethoven symphonies at the Eastman School of Music over the summer, but by April it was deemed necessary to hold all summer […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"coauthors":[2],"class_list":["post-2","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/comments?post=2"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/pages\/2\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/media?parent=2"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/beethoven\/wp-json\/wp\/v2\/coauthors?post=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}